听力课堂TED音频栏目主要包括TED演讲的音频MP3及中英双语文稿，供各位英语爱好者学习使用。本文主要内容为演讲MP3+双语文稿:学校会扼杀创造力吗？，希望你会喜欢！

【演讲者及介绍】Sir Ken Robinson

Sir Ken Robinson通过一个有趣且感人的案例，启示我们如何创建一个培养，而不是削弱创造力的教育体系。

【演讲主题】学校会扼杀创造力吗？ Do schools kill creativity

【中英文字幕】

翻译者Congmei Han 校对者Zoe Chen

I have an interest in education. Actually, what I find is, everybody has an interest in education. Don't you? |我对教育感兴趣事实上，我发现每个人都对教育感兴趣，难道不是吗?

I find this very interesting. If you're at a dinner party, and you say you work in education -- actually, you're not often at dinner parties, frankly. If you work in education, you're not asked. |我发现这很有趣。如果你参加一个晚宴，你说你在教育部门工作——坦白的讲，如果你在教育部门工作， 事实上你不会经常参加晚宴， (笑声) 所以你不会被问及你是做哪行的。

And you're never asked back, curiously. That's strange to me. |你永远不会被问到，很奇怪。

But if you are, and you say to somebody, you know, they say, "What do you do?" and you say you work in education, you can see the blood run from their face. They're like, "Oh my God. Why me?" "My one night out all week." |但是如果你被问及， 他们问:"你从事什么行业?" 你说你在教育部门工作你会发现他们涨红了脸，那意思好像是 “我的天啊，” “为什么让我碰上？ 整整一周我才出来一次”

But if you ask about their education, they pin you to the wall, because it's one of those things that goes deep with people, am I right? Like religion and money and other things. |但如果你要他们谈谈他们的受教育经历， 他们会把你“钉到墙上”。 因为这些事情都涉及个人的隐私,对吗? 比如宗教信仰,薪水等。

So I have a big interest in education, and I think we all do. We have a huge vested interest in it, partly because it's education that's meant to take us into this future that we can't grasp. |我对教育特别感兴趣， 我认为我们都是如此我们对此有巨大的既得利益部分因为教育旨在将我们带入我们无法掌握的未来。

If you think of it, children starting school this year will be retiring in 2065. Nobody has a clue what the world will look like in five years' time. And yet, we're meant to be educating them for it. So the unpredictability, I think, is extraordinary. |大家想想，今年入学的小孩2065将退休。没人知道会怎样这个世界五年后的样子。 这就是为何我们要让这些孩子接受教育。我认为正是未来的不确定性决定其非同寻常。

And the third part of this is that we've all agreed, nonetheless, on the really extraordinary capacities that children have -- their capacities for innovation.|第三点就是我们都认同一个观点-- 这些孩子的特别之处正是他们的创新能力。

So I want to talk about education, and I want to talk about creativity. My contention is that creativity now is as important in education as literacy, and we should treat it with the same status. |所以我想谈谈教育和创造力。我认为创造力和文化知识在教育中占同样比重， 所以这两方面我们应同等对待。

Thank you. That was it, by the way. Thank you very much. |谢谢。而且， 非常感谢。

So, 15 minutes left. |还剩15分钟。

"Well, I was born ... " |我出生于--

I heard a great story recently -- I love telling it -- of a little girl who was in a drawing lesson. She was six, and she was at the back, drawing, and the teacher said this girl hardly ever paid attention, and in this drawing lesson, she did. |最近我听到一个很不错的故事 --我很愿意讲讲这个故事-- 说的是一个小女孩正在上绘画课。 小女孩只有六岁她坐在教室的后排，正在画画， 而她的老师评价她几乎从不注意听讲，但在绘画课上她却听得很认真。

The teacher was fascinated. She went over to her, and she said, "What are you drawing?" And the girl said, "I'm drawing a picture of God." And the teacher said, "But nobody knows what God looks like." And the girl said, "They will in a minute." | 老师饶有兴趣地走过去问她：“你在画什么？” 她说：“我画的是上帝。” 老师说：“可是没人知道上帝长什么样。” 这时小女孩说： “他们马上就能知道上帝的样子了。”

When my son was four in England -- actually, he was four everywhere, to be honest. |我儿子四岁时在英国-- 实际上他那会儿在哪都四岁。

If we're being strict about it, wherever he went, he was four that year. He was in the Nativity play. Do you remember the story? |严格地说他四岁那年在哪个国家记不清了， 只记得他四岁那年去演舞台剧《基督诞生》 你们记得那部剧的情节吗？

No, it was big, it was a big story. Mel Gibson did the sequel, you may have seen it. "Nativity II." |应该记不得，情节太长。 故事太长。梅尔.吉布森演过那部剧的续集。 你们也许看过，叫《基督诞生II》。

But James got the part of Joseph, which we were thrilled about. We considered this to be one of the lead parts. We had the place crammed full of agents in T-shirts: "James Robinson IS Joseph!"|我儿子James在那部舞台剧里演 Joseph， 我们为此很兴奋。 我们以为那是个主要角色。 我们给观众们发了T恤： 上面印着 “James Robinson 扮演 Joseph！"

He didn't have to speak, but you know the bit where the three kings come in? They come in bearing gifts, gold, frankincense and myrrh. This really happened. |他的角色不一定有台词，剧情是三个国王拿着礼物走进来他们分别拿着黄金，乳香精油，没药精油。 演出开始了。

We were sitting there, and I think they just went out of sequence, because we talked to the little boy afterward and said, "You OK with that?" They said, "Yeah, why? Was that wrong?" They just switched. The three boys came in, four-year-olds with tea towels on their heads. They put these boxes down, and the first boy said, "I bring you gold." And the second boy said, "I bring you myrrh." And the third boy said, "Frank sent this." |我们坐在观众席上，我认为他们应该按顺序出场， 演出结束后我们对James说： “你们刚才演的对吗？” 他说：“对啊，怎么了，哪错了吗？” 其实他们把剧情改了。 他们是这么演的：三个小演员出场， 四岁的小家伙们头上戴着擦杯子用的毛巾， 他们放下手上拿的盒子，第一个孩子说：“我带来了黄金。” 第二个孩子说：“我带来了没药精油。” 第三个孩子说： “Frank带来了这个。”

What these things have in common is that kids will take a chance. If they don't know, they'll have a go. Am I right? They're not frightened of being wrong. |以上例子的共同点就是孩子们愿意冒险。 对于未知的事物，他们愿意去尝试。 难道不是吗？ 即使尝试的结果是错误的，他们也不惧怕。

I don't mean to say that being wrong is the same thing as being creative. What we do know is, if you're not prepared to be wrong, you'll never come up with anything original -- if you're not prepared to be wrong. |当然，我并不认为错误的尝试等同于创新。 但我们都知道如果你不打算做错误的尝试，你永远不会创造出新东西。

And by the time they get to be adults, most kids have lost that capacity. They have become frightened of being wrong. And we run our companies like this. We stigmatize mistakes. And we're now running national education systems where mistakes are the worst thing you can make. |如果你不想让孩子们做错误的尝试， 等他们长大了， 多数孩子就会丧失创新的能力。 那就会使他们也变得惧怕错误的尝试。 这种情况也存在于公司经营方面。 我们不能容忍任何错误。这就使得现在的教育体系成为最不能容忍错误的领域。

And the result is that we are educating people out of their creative capacities. |这样做的后果就是我们的教育体制正在扼杀孩子们的创造力。

Picasso once said this, he said that all children are born artists. The problem is to remain an artist as we grow up. |毕加索曾说过: “孩子们是天生的艺术家” 。问题是我们长大后能否继续保有艺术灵感。

I believe this passionately, that we don't grow into creativity, we grow out of it. Or rather, we get educated out of it. So why is this? |我坚信： 我们随着年龄的增长而丧失了创造力， 甚至可以说，是我们所受的教育让我们丧失了创造力。 为什么会这样？

I lived in Stratford-on-Avon until about five years ago. In fact, we moved from Stratford to Los Angeles. So you can imagine what a seamless transition this was. |五年前，我住在Stratford-on-Avon。 现在我已经搬到了洛杉矶。 可想而知，这是个多么合乎逻辑的移居。

Actually, we lived in a place called Snitterfield, just outside Stratford, which is where Shakespeare's father was born. Are you struck by a new thought? I was. You don't think of Shakespeare having a father, do you? Do you? |其实， 那时我们住在Snitterfield就在Stratford郊外，那里是莎士比亚父亲的出生地。 你有过灵感吗？我曾经有过。 你没把莎士比亚 和他的父亲联想在一起，对吗？

Because you don't think of Shakespeare being a child, do you? Shakespeare being seven? I never thought of it. |因为你忽略了莎士比亚也曾经是个孩子，对吗？ 莎士比亚七岁时什么样？ 我从没想过

I mean, he was seven at some point. He was in somebody's English class, wasn't he? |--他七岁时的某个特定场景。比如他在上英语课， 想想他在上英语课

How annoying would that be? |--多么不可思议 ！

"Must try harder." |“你要努力学习”

Being sent to bed by his dad, to Shakespeare, "Go to bed, now!" To William Shakespeare. "And put the pencil down!" |你能想象他父亲边说边把他抱上床， “现在该睡觉了” 他父亲又说：“放下笔。“

"And stop speaking like that." | “别再写那些东西了。“ （笑声）

"It's confusing everybody." |”别人都看不懂。”

Anyway, we moved from Stratford to Los Angeles, and I just want to say a word about the transition. Actually, my son didn't want to come. I've got two kids; he's 21 now, my daughter's 16. |话说远了，刚才说到我们从Stratford搬到洛杉矶， 我想说的是，对于这次搬家， 我儿子并不愿意。 我有两个孩子。 儿子现在21岁了，女儿16岁。

He didn't want to come to Los Angeles. He loved it, but he had a girlfriend in England. This was the love of his life, Sarah. He'd known her for a month. |我儿子不愿搬到洛杉矶。 虽然他喜欢这， 但在英国，他有个女友， 是他的最爱，叫 Sarah。 他们认识只有一个月后就开始交往了。

Mind you, they'd had their fourth anniversary, because it's a long time when you're 16. He was really upset on the plane. He said, "I'll never find another girl like Sarah." | 我们要搬家时他们已交往了4年。 这对于16岁的年龄来说已经很长了。 我儿子上了飞机后很郁闷， 他说：“我再也找不到像 Sarah 那样的女孩了。”

And we were rather pleased about that, frankly -- |但说实话， 做为家长的我们为此很庆幸。

because she was the main reason we were leaving the country. |因为那个女孩是我们搬家的主要原因。

But something strikes you when you move to America and travel around the world: every education system on earth has the same hierarchy of subjects. Every one. Doesn't matter where you go. You'd think it would be otherwise, but it isn't. |但搬到美国后，有些事使我印象深刻如果你周游世界你会发现每个国家的教育体系都存在相同的学科等级制度。 没有例外。不论哪个国家。 你认为也许会有例外，但没有。

At the top are mathematics and languages, then the humanities. At the bottom are the arts. Everywhere on earth. |排在最前面的学科是数学和语言， 接下去是人文学科，艺术排在最后。 世界上所有国家都是如此。

She's a choreographer, and everybody knows her work. She did "Cats" and "Phantom of the Opera." She's wonderful. I used to be on the board of The Royal Ballet, in England. |她是一个舞蹈编剧所有人都知道她的作品。 她编舞的作品有《猫》、《歌剧魅影》。 她很有才华。我在英国看过由皇家芭蕾舞团演出的她的作品。

Gillian and I had lunch one day. I said, "How did you get to be a dancer?" It was interesting. When she was at school, she was really hopeless. |有一次，我和Gillian吃午饭，我问她： “Gillian,你是怎样成为舞蹈家的？她回答说： 说起来很有意思，她上学的时候， 觉得自己完全没有希望。

And the school, in the '30s, wrote to her parents and said, "We think Gillian has a learning disorder." She couldn't concentrate; she was fidgeting. |她上学那会儿是1930年代， 老师给她家长写信说：“我们认为 Gillian患有学习障碍症。”她无法集中注意力， 她老是坐不安生。

I think now they'd say she had ADHD. Wouldn't you? But this was the 1930s, and ADHD hadn't been invented at this point. It wasn't an available condition. |用现在的话讲，那意思就是她有多动症。你们也这么想吧？ 但那时候是1930年代， “多动症”这个词还没出现。 那个老师用词不当。

People weren't aware they could have that. |那时候人们还不知道用“多动症”这个词。

Anyway, she went to see this specialist. |于是，Gillian去看病。

So, this oak-paneled room, and she was there with her mother, and she was led and sat on this chair at the end, and she sat on her hands for 20 minutes, while this man talked to her mother about all the problems Gillian was having at school, because she was disturbing people, her homework was always late, and so on. Little kid of eight. |她妈妈带她去的， 医生让她坐在椅子上， 她把手压在腿下，这样过了20分钟她妈妈一直在向医生讲述Gillian在学校的表现： 她在学校不安生， 她总是晚交作业，等等， 其实不过是个才8岁的孩子。

In the end, the doctor went and sat next to Gillian and said, "I've listened to all these things your mother's told me. I need to speak to her privately. Wait here. We'll be back. We won't be very long," and they went and left her. |最后， 医生走过去坐到Gillian的旁边对她说：“Gillian, 你妈妈跟我说了很多，现在我想和你妈妈单独谈谈。” “你在这儿等一下，我们马上谈完。” 医生和她妈妈出去了。

But as they went out of the room, he turned on the radio that was sitting on his desk. And when they got out of the room, he said to her mother, "Just stand and watch her." |但医生在出去时把收音机打开了，收音机在医生办公桌上。在他们走出房间后，医生对她妈妈说: “我们就站在这儿观察一下她。 ”

And the minute they left the room, she was on her feet, moving to the music. And they watched for a few minutes, and he turned to her mother and said, "Mrs. Lynne, Gillian isn't sick. She's a dancer. Take her to a dance school." |他们离开房间后， Gillian站起来，随着音乐跳起舞来。 她妈妈和医生在门外看了几分钟，医生对她妈妈说： Lynne太太，Gillian没病， 她是个舞蹈天才。 让她去上舞蹈学校吧。”

I said, "What happened?" She said, "She did. I can't tell you how wonderful it was. We walked in this room, and it was full of people like me -- people who couldn't sit still, people who had to move to think." Who had to move to think. They did ballet, they did tap, jazz; they did modern; they did contemporary. |话说到这，我问Gillian：“后来怎么样了？” 她回答道：“我妈妈送我去了舞蹈学校。 我无法形容那里有多棒。 那里有很多像我这样的人--坐不住的人。 我们必须在动态中才能思考。” 他们跳芭蕾，跳踢踏舞，跳爵士舞， 跳现代舞。

She was eventually auditioned for the Royal Ballet School. She became a soloist; she had a wonderful career at the Royal Ballet. She eventually graduated from the Royal Ballet School, founded the Gillian Lynne Dance Company, met Andrew Lloyd Webber. |后来她考入皇家芭蕾舞学校， 成为芭蕾舞女主演，事业发展很成功。从皇家芭蕾舞学校毕业后 她成立了自己的公司 --Gillian Lynne 舞蹈公司遇到了Andrew Lloyd Weber （注：歌舞剧《猫》的编曲者）。

She's been responsible for some of the most successful musical theater productions in history, she's given pleasure to millions, and she's a multimillionaire. Somebody else might have put her on medication and told her to calm down. |她负责担任过一些极其成功的音乐剧的编舞，她给数以万计的观众带来了艺术享受， 她也是个亿万富翁。可是，有人 也许曾认为她有多动症命令她 “冷静。”

What I think it comes to is this: I believe our only hope for the future is to adopt a new conception of human ecology, one in which we start to reconstitute our conception of the richness of human capacity. |现在，我想说的是--我相信对于未来，我们的唯一出路是贯彻一种新的人性化生态的思想， 也就是说我们应重新定义人类能力的多样化。

Our education system has mined our minds in the way that we strip-mine the earth for a particular commodity. And for the future, it won't serve us. |我们的教育体系培养我们的方式正如我们开采地球的方式-- 以功利为目的。 但这种方式对于未来将不再适用。

We have to rethink the fundamental principles on which we're educating our children. |我们必须重新思考那些最基本的准则也就是我们教育孩子的准则。

There was a wonderful quote by Jonas Salk, who said, "If all the insects were to disappear from the Earth, within 50 years, all life on Earth would end. If all human beings disappeared from the Earth, within 50 years, all forms of life would flourish." And he's right. | Jonas Salk曾说过：“如果所有的昆虫都从地球上消失的话， 那么50年之内，所有生命也将从地球上消失。 而如果人类从地球上消失的话， 那么50年之内，其他物种会活得更好。” 他说的很对。

What TED celebrates is the gift of the human imagination. We have to be careful now that we use this gift wisely. |TED倡导的是人类的创造性思维。 现在，我们必须小心地运用这种思维方式。

And the only way we'll do it is by seeing our creative capacities for the richness they are and seeing our children for the hope that they are. |达到这个目的唯一的方法就是运用创造力最大限度地发挥创造力，而且用孩子们喜欢的方式培养他们。

And our task is to educate their whole being, so they can face this future. By the way -- we may not see this future, but they will. And our job is to help them make something of it. |我们的任务是全方位地培养孩子， 这样他们才能面对未来的社会。 顺便说句--我们可能活不到未来那天但孩子们会。而我们要做的就是帮助他们能在未来有所作为。

Thank you very much. |谢谢大家。